Scan 30
Musical Courier 1906-12-19: Vol 53 Iss 1395, 1906
87 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1KARL KLEIN'S TRIUMPH IN VIENNA.
3In a previous number, THE MUSICAL COURIER published an eloquent letter from the pen of the distinguished Vienna critic, Ludwig Karpáth, to Mr. Abell, in Berlin, regarding the extraordinary success of the young violin virtuoso, Karl Klein, achieved at his concert with the orchestra in the Grosser Musikvereinsaal. Today the opinions of other eminent critics are added. The critic of the Neues Wiener Tageblatt, Max Kalbeck, writes as follows about Mr. Klein (both the original German criticism and a translation are given):
5"Singen, schon singen hörten wir erst wieder im anderen Saale, und zwar von Herrn Karl Klein, der kein Sänger sondern ein Geiger ist. Herr Klein, der Sohn des rühmlichst bekannten Bruno Oscar Klein, Komponisten in New York, hat seine künstlerische Ausbildung dem großen Ysaye zu verdanken. An der Eleganz un Geschmeidigkeit seiner Bogenführung ist der Meister zu erkennen. Den edlen, sonoren, nuancenreichen Ton aber hat er von sich selbst; dieser ist sein angeborenes Eigenthum und steht trotz der Jugend des Künstlers—wir schätzen ihn auf kaum zwanzig Jahre—für eine charakteristische Persönlichkeit ein. Herr Klein spielte drei große Werke: Bach's E-dur Konzert, das Violinkonzert von Brahms und die "Symphonie Espagnole" von Lalo, alle drei mit leidenschaftlicher Hingebung und mit dem besten Gelingen. Einstweilen steht ihm Lalo näher als Brahms, und dieser wieder näher als Bach, aber welchen Meister er immer behandelte, überall zeigte Herr Klein sich technisch seiner Aufgabe gewachsen, überall entwickelte er einen feinen musikalischen Sinn und überall sprach der Ton seiner Geige zum Herzen der angenehm überraschten Zuhörer."
7Singing, beautiful singing, we at last heard once more in another hall, and by Karl Klein, who is no singer, but a violinist. Mr. Klein, a son of the distinguished composer, Bruno Oscar Klein of New York, owes his artistic training to the great Ysaye. By the elegance and suppleness of his bowing we recognize this master. But the noble, sonorous tone, capable of the finest shading, is all his own. This is born in him, and proves him in spite of his youth—we believe he is scarcely twenty years of age—a characteristic personality. Mr. Klein played three great works: Bach's concerto in E, the violin concerto of Brahms, and the "Symphonie Espagnole" of Lalo. All three he played with passionate devotion and supreme ability. For the present he seems to be nearer to Lalo than to Brahms, and again nearer to the latter than to Bach. But whatever master he plays Mr. Klein showed himself equal to the technical requirements of his task. Everywhere he showed fine musical feeling, and everywhere the tone of his violin touched the hearts of his agreeably surprised listeners.
9And here is the German criticism from the Neues Wiener Journal, with the English translation:
10"Hoch über den Künstlern dieser Kategorie steht ein junger Geiger, Herr Karl Klein, der sich vor einigen Tagen ausserst vorteilhaft eiführte. Er spielte Bach's Violinkonzert E-dur für Streichorchester und Orgel und das von allen für die Geige komponierten Werken vielleicht schwierigste, wundervolle Konzert von Brahms. Eine für die Jugend des Künstlers frappierende Reise der Aufassung, eine massvolle Phrasierung zeichnet ihn aus; schon dient ihm seine tadellose Technik nur mehr als Mittel, um den Charakter des Kunstwerkes wiederzugeben. Man wird von diesem jungen Künstler viel erwarten dürfen, wenn ihn ein früher Erfolg nicht von ernster Arbeit abhalten wird."
11Dr. E. Bienenfeld.
13High above the artists of this category stands a young violinist, Karl Klein, who a few days ago created a most favorable impression. He played Bach's concerto for violin in E major, for string orchestra and organ, and the magnificent concerto of Brahms, which is perhaps the most difficult of all concertos ever composed for violin. In view of the youth of the artist, one is struck by his maturity of conception and his artistic phrasing, free from all exaggeration. Already, his flawless technique serves him only as a means of reproducing the character of the composition. One may expect great things from this youthful artist, if early success will not keep him from serious work.
15Gyongyoshalaszy Piano Recital.
16Z. deT. Gyongyoshalaszy, the Hungarian pianist and composer, gave a recital in Mendelssohn Hall December 11 with this program:
17Sarabande and Chaconne ………………………………………Handel-Liszt
18Fantasia, C minor ……………………………………………..Mozart
19Andante and Variations ………………………………………Clara Wieck-Schumann
20Nightpiece …………………………………………………….Schumann one of two readings
21Nightpiece ………………………………………………………..Schumann one of two readings
22Berceuse ………………………………………………………Grieg one of two readings
23Berceuse ………………………………………………………..Grieg one of two readings
24Nenia ………………………………………………………..Sgambati
25Nocturne ………………………………………………………Gyongyoshalaszy one of two readings
26Nocturne ………………………………………………………..Gyongyoshalaszy one of two readings
27Serenade, op. 40 (by request) ……………………………Gyongyoshalaszy
28Hungarian …………………………………………………….Gyongyoshalaszy one of two readings
29Hungarian ………………………………………………………..Gyongyoshalaszy one of two readings
30Fantasia, op. 36 ……………………………………………..Mendelssohn-Liszt one of two readings
31Fantasia, op. 36 …………………………………………………Mendelssohn-Liszt one of two readings
32On the Wings of Song ………………………………………Mendelssohn-Liszt
33Consolation, D flat major ………………………………….Liszt one of two readings
34Consolation, D flat major ………………………………………Liszt one of two readings
35Trovatore Fantasia …………………………………………Liszt one of two readings
36Trovatore Fantasia ……………………………………………..Liszt one of two readings
38A program made up of some solid musical numbers, beginning with a broad, dignified performance of Handel and Mozart, in which the pianist showed variety of touch and tone; continuing through more familiar pieces by Schumann and Grieg, in which again beauty of touch and poetic conception were uppermost, and closing with the brilliant and never played fantasia on themes from "Il Trovatore," by Liszt, the pianist's compatriot, which roused the audience to a high pitch of enthusiasm. Following the Sgambati "Nenia" (a dirge), the applause was such that he gave his own "A Hymn" as encore. There followed three pieces of his composition, and these were greatly enjoyed, to judge by the animated and long continued applause. Indeed, the Hungarian fantasia, closing with the national "Rakoczy March," came close to eclipsing the Liszt bravura piece, so full of powerful abandon and mighty climax was it. As encore to this he played his own "Pastorale," an effective bit. Gyongyoshalaszy has the "three T's," technic, touch and temperament; and beyond this he possesses a poetic soul, coupled with unusual self control and repose. In consequence, his hearers are interested from the first, and no small wonder that what with his name and personality combined he serves first to awaken interest, then retain that interest and so quickly wins his way. Following the playing of his own pieces some admirers sent a huge laurel wreath to the stage, with the inscription:
39"Sic stur ad astra, December 11, 1906."
40(Thus the path to the stars).
42A party of distinguished society people afterward gave a dinner in honor of Mr. Gyongyoshalaszy, at the Waldorf-Astoria Hotel, and many were the good wishes expressed for his musical career.
44Music in Minneapolis.
45MINNEAPOLIS, December 15, 1906.
46It requires an ambitious conductor and an orchestra with complete instrumentation and adequate strings to attempt a Wagnerian program of ten numbers. Yet Emil Oberhoffer and the Minneapolis Symphony Orchestra essayed and accomplished this task in a manner which not only aroused great enthusiasm in the audience, but satisfied the critical that the orchestra is composed of musicians who are able to perform the great works of the modern school. Mr. Oberhoffer has much to be proud of in the manner the program was received, as well as the way it was rendered. An audience of two thousand listened spellbound for over two hours and then insisted on having the "Ride of the Valkyries" repeated before they would leave the hall. This is a tribute few conductors receive, and Mr. Oberhoffer and his men must have taken great pleasure in this recognition of their efforts.
48The program was arranged to cover the different periods of Wagner's art life in a manner most effective, though not chronological, a wide variety being offered in excellent contrast. The large body of strings was fully satisfactory in the ensemble, never being overbalanced by the brass, while the woodwind deserves special notice for prompt attack and excellence of tone. The size of the auditorium requires a large orchestra, and at last Mr. Oberhoffer has it at his disposal. As the season advances we can expect great things from such a body of men headed by a conductor of Mr. Oberhoffer's capacity.
50Alois Burgstaller, the assisting artist, established himself in favor at once, being insistently recalled several times after each number. His interpretation of Siegmund's love song was so exquisite that the audience compelled him to appear again, and he sang some Schubert and Schumann songs with rare effect.
52The program, the rendition of which has proved the Minneapolis orchestra on terms of equality with the half dozen great orchestras of the country, was as follows:
53Vorspiel to Die Meistersinger von Nuernberg.
54Ein Alblumblatt. one of two readings
55Ein Almblatt. one of two readings
56Walther's Prize Song, from Die Meistersinger.
57Mr. Burgstaller.
58Siegfried Idyl.
59Narrative of Lohengrin, Act 3, Scene 3.
60Mr. Burgstaller.
61Overture to Tannhäuser.
62Vorspiel to Lohengrin.
63Good Friday Spell, from Parsifal.
64Siegmund's Love Song, from Die Walküre.
65Mr. Burgstaller.
66Ride of the Valkyries, from Die Walküre.
68Bennett's Pupils in Asbury Park.
69Last week the music loving contingent of Asbury Park, N. J., was given a rare treat in the shape of two most excellent concerts, the first by Arthur Parker, the violinist, assisted by Hans Kronold, 'cellist, and Fannie E. Richards and Nellie Treat, pianists, shortly following this was the recital given by Mrs. Walter Hubbard, the talented pupil of S. C. Bennett, assisted Edith van Gilluwe, violinist, and Edith Morgan, accompanist. Mrs. Hubbard sang delightfully the following selections:
70When Celia Sings ……………………………………………..Moir
71A Maid Sings Light ………………………………………….MacDowell one of two readings
72A Maid Sings Light …………………………………………..MacDowell one of two readings
73I Love and the World Is Mine (with Violin Obligato) ….Manney
74Morgen ………………………………………………………Richard Strauss one of two readings
75Morgen ………………………………………………………..Richard Strauss one of two readings
76Die Nacht …………………………………………………….Richard Strauss one of two readings
77Die Nacht ………………………………………………………..Richard Strauss one of two readings
78Die Lorelei …………………………………………………..Liszt one of two readings
79Die Lorelei ………………………………………………………Liszt one of two readings
80Caro Mio Ben ……………………………………………….Giordani one of two readings
81Caro Mio Ben …………………………………………………Giordani one of two readings
82Waltz Song …………………………………………………Victor Herbert one of two readings
83Waltz Song …………………………………………………….Victor Herbert one of two readings
85Horszowski Recital on December 30.
86Master Horszowski, a piano prodigy, aged thirteen, will give a recital in Carnegie Hall on the evening of December 30.
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